ART CALENDAR

You have chosen a share equivalent to 1/37nd of a cask. Your share corresponds to 6 bottles of 8 years. You have selected the bottling at cask strength (+ / - 70% alcohol by vol.). Your share will be available on October 16-17, 2021 at the distillery. Meanwhile, we will send you a certificate of authenticity by regular mail. It will identify your cask share and numbered bottles. If you want to offer a share, let us know and we will send you the certificate in the name of the person to whom you want to offer it.

Inside the rarefied world of an aristocratic family
This autumn KU[N]ST Leuven and M-Museum Leuven are shining a light on a part of Leuven’s rich history by bringing to life the grandiose world of the noble Arenberg family. This they are doing by means of two prestigious exhibitions and a varied programme of events.
The exhibition Power and Beauty. The Arenbergs at M-Museum Leuven, which runs from October 26th 2018 to January 20th 2019, is a once-in-a-lifetime reunion of masterpieces from the former Arenberg family’s collection and includes paintings and engravings by Rubens, Veronese, Dürer and Jordaens. The exhibition also takes a look at the lavish lifestyle, pomp and splendour enjoyed by this notable family.
A second exhibition Noble Living. The castle at Heverlee, from Croÿ to Arenberg in the University Library illustrates the architectural history of Arenberg Castle in Heverlee and the fascinating lives of the Arenberg family who spent much of their time there.
The Arenberg Festival will open with a festive weekend on October 20th and 21st. The grounds of Arenberg Castle, once a favourite residence of the Arenbergs and now the campus of Leuven university’s Faculty of Engineering, will provide the setting for a novel mix of historical and futuristic activities. The weekend with culminate in a spectacular video mapping projection on the façade of Arenberg Castle by video artist Nele Fack.
www.arenbergleuven.be
An initiative of KU[N]ST Leuven vzw, a partnership between the City of Leuven and the University of Leuven

From the masters of the Renaissance to those of the avant-garde movement, by way of famous international artists (Ingres, Monet, Pissarro, Picasso, Chagall, Arp, Magnelli, Debré, Hantai, Monory, Gilbert & George and more), Liège. Chefs-d’œuvrewill offer an unprecedented journey through the masterpieces in the collection of the Musée des Beaux-Arts de Liège. Belgian artists are not omitted: Constant Permeke, James Ensor, Emile Claus, the surrealists René Magritte and Paul Delvaux, Pierre Alechinsky, Marthe Wéry, not to mention the Liège-born Lambert Lombard, Gérard de Lairesse, Léonard Defrance, Jean Rets, among others.
It is an opportunity for the people of Liège, as well as any visitors from Belgium or overseas, to discover a vast selection of exceptional works and admire the considerable richness of this expansive collection.
This unprecedented exhibition – which will showcase more than 150 paintings and sculptures – will be original in more than one way. Since the reopening of La Boverie in May 2016, many works, which had been weakened with time or kept in reserve, have not been exhibited for a long time.
The Liège. Chefs-d’œuvreexhibition was designed to establish a dialogue between different eras and formal movements, all the while offering visitors certain specific focuses on particular artists and artistic trends: Henri Evenepoel, the shining talent of Rik Wouters, the elusive James Ensor, Pol Bury’s moving sculptures, the Cobra movement, as well as evoking the steel-working tradition of the Liège basin through the eyes of 20thand 21stcentury artists.Certain masterpieces will be exhibited on an exceptional basis: Les Femmes vertueusesby Lambert Lombard, a collection of statues and sketches by Jean Del Cour, the Baroque sculptor, Mise au tombeau, an Impressionist work by Paul Delvaux, as well as a number of important pieces from the Wallonia-Brussels Federation will be given pride of place.
In anticipation of this exhibition, and after a first volume published during its reopening in May 2016, the Musée des Beaux-Arts de Liège is also preparing for the publication of the second volume of the collections catalogue. This beautiful book of art will include a selection of about 120 pieces, commentated by art historians and qualified scholars.

From January 15 to February 16, 2019, Esther Verhaeghe-Art Concepts is proud to invite the young French artist Léa Belooussovitch to exhibit at the gallery space 37, place du Châtelain in Brussels.
Born in Paris in 1989, Léa Belooussovitch lives and works in Brussels. We have seen the large photos of her series Facepalmprinted on satin, as well as her spectacular crayon drawings on felt during her exhibition at the end of residency at the MAAC - Maison d'Art Actuel des Chartreux, among others . Léa Belooussovitch is represented in Paris by the Paris-Beijing Gallery. She has just received the Young Artists Award 2018 from the Parliament of the Wallonia-Brussels Federation. The FWB Parliament awards each year a young artist under 40, from the French Community in the field of visual arts. This year, the prize was dedicated to painting and drawing.
Through drawing, photography, video and installation, Léa Belooussovitch veils and unveils the real in its most dramatic aspects. A salvific and questioning abyss at a time.

In 2017, Sue Schiepers has opened the one and only gallery in Belgium that is specialised in artworks in glass. For 2019, Sue Schiepers proposes three exhibitions: from February 2 until April 20 Baldwin & Guggisberg; from May 11 until August 3 Kait Rhoads; and from September 28 until December 21 Christine Vanoppen & Wouter Bolangier.
Baldwin & Guggisberg (USA & CH)
Philip Baldwin, who was born in New York, and the Swiss Monica Guggisberg have worked together since 1980, studying together in Sweden. As students they assisted Wilke Adolfsson and Ann Wolff before leaving Sweden in 1982 to set up their own studio in Switzerland. They continued to work as glass artists in Switzerland for another twenty years before moving to Paris in 2001 and in 2015 to Wales, where they currently live and work. After their successful Canterbury Cathedral exhibition, this duo is coming to Belgium.
Kait Rhoads (USA)
Kait Rhoads is an American sculptor. She lives and works in Seattle. She creates innovative structures using traditional glass cane and murrine (Italian glass technique). Rhoads’s youth was spent between rural Virginia and a sailboat in the Bahamas and the Caribbean. Growing up on the water was a major influence, and is a great source of inspiration. Her ‘Sea Stones’ series references these watery origins: simple shapes with subtle shifts in colour and quick gleams of light reminiscent of the sun on the waves. To create these amorphous shapes, she weaves together hollow glass cane with copper wire. The resulting small sculptures beg to be touched, their scale, surface and playfulness eliciting a variety of responses from curious viewers. This is Rhoads’s first European exhibition of her work.
Christine Vanoppen & Wouter Bolangier (both BE)
Christine Vanoppen’s artistic works span a diversity of applications, permanently displacing the limits of the possible. She experiments with various techniques and materials, drawing inspiration from both architecture and natural structures.
Wouter Bolangier started working with glass at sixteen years of age. Today, he works primarily in glass, stainless steel and rubber. His work takes us into a world of suspended animation, where objects come back to life in new and magical ways full of unending sparkles, reflections and hues. At the same time, you are very aware of their fragility, with every seemingly stable instance being an illusion.

Philip Baldwin, who was born in New York, and the Swiss Monica Guggisberg have worked together since 1980, studying together in Sweden. As students they assisted Wilke Adolfsson and Ann Wolff before leaving Sweden in 1982 to set up their own studio in Switzerland. They continued to work as glass artists in Switzerland for another twenty years before moving to Paris in 2001 and in 2015 to Wales, where they currently live and work. After their successful Canterbury Cathedral exhibition, this duo is coming to Belgium.

Through residencies, Hors Pistes initiates creative exchanges between artisans and designers from all over the world. During a month-long residency, they share skills, knowledge, and cultures. By breaking their work habits, they rethink their creation process and find new application to the traditional techniques. Together, artisans and designers experiment and get inspired from the identity of the territory. The results of the collaboration foster the transfer of artisanal know-how and question its heritage and future.
By going “off-road”, Hors Pistes offers professionals the opportunity to be involved in a multidisciplinary laboratory and to reflect on conventional production models by encouraging innovative creation processes. Free-form explorations, alternative life stories. In 2014, the CID hosted the first Ouagadougou Off-piste experience. In 2019, it is the first museum to host the third edition of the project: Hors Pistes Nuuk. Nuuk is the capital of Groenland, an island with limited natural resources and a harsh climate. The local artisanal techniques take the surrounding geographical constraints into account and the Inuit culture is deeply connected to its land. The craftsmen find their inspiration in nature and work with materials such as stone, wood, soil, wool, skin, and bones of hunted animals. Altered during the last century by the various exchanges with the Western regions, Inuit traditions are being transformed with globalisation. If they were essential for survival, fishing and hunting practices are less and less used. This gradual disappearance endangers the related craft techniques, such as animal skin transformation or traditional kayak making. In the meantime, new techniques are being introduced and absorbed, such as embroidery, beadwork, or ceramic.
The exhibition “Hors pistes Nuuk” aims to initiate encounters with Greenlandic culture, replace human exchanges at the heart of the creative processes. While the experimentations, prototypes and objects –all resulting from the researches conducted during the residency– embody the spirit of each encounter, the present exhibition also shares stories –narrated by an editorial team.

“Glass is, in general, the enemy of secrets.” ]This was how Walter Benjamin identified the ambivalent transparency of a material with which it seems very difficult to hide one’s intentions. The dialectics between apparent banality and potential for transgression in habit the process that has governed Cirva’s mission since its creation over thirty years ago in Marseille. Indeed, the laboratory’s vocation is to explore the relationships between art, design and glass through a wide range of the oretical and practical procedures, combined with the personal approaches of the artists and designers who are invited there for research and creation residencies.
The Glass-Oriented Designe xhibition presents an eloquent series of experiments with glass conducted at Cirva by designers from very different horizons, but who are united by the opportunity to work and take part in an ongoing dialogue with the glassmaker.
The first part of the show focuses on the object-constructions invented by Andrea Branzi at Cirva between 2001 and 2008, which question the relationships between domestic objects, nature and architecture.
A more formal, technical approach to the material is highlighted through the research of Sylvain Willenz (Shift, Spot lights and Block containers collections, 2011/2012) and the lighting project developed by the Frenchduo Normal Studio (2013/2016), which explore the imprint left by the mould. The emphasis here is placed on the stages of work which make it possible to understand the experimental process.
Through the poetic, narrative universe of David Dubois, the exhibition also considers questions of randomness and movement. Like a central theme, a series of unique works including suspension and wall lights (Globes, 2014) form a lighting landscape which in spatial terms is both graphic and diaphanous.
Since 2011, Cirva and the Design Parade festival at the Villa Noailles in Hyères have chosen to work together through a one-year research residency grant for the winner of a competition. The young designer is given the brief to create one or a series of original vases. These creations are now being used to decorate the Villa Noailles with flowers, as during the time of the villa’s commissioners, Charles and Marie-Laure de Noailles, who were aesthetes and loved flowers. This precious testimony to modernist architecture, designed by the architect Robert Mallet-Stevens between 1923 and 1933, still remains contemporary and full of life.
The exhibition scenography has been entrusted to Normal Studio. Drawing on their research experience at Cirva, they have designed a framework that enables the various worlds and functions to interconnect, there by codifying Cirva’s language of commitment to design and creation.

Anticipating the anniversary of La Louvière (1869-2019), the MiLL – musée Ianchelevici publishes a work on the artistic collection of the city. From Anto Carte over Pol Bury, Pierre Alechinsky and René Magritte.

Since its creation in 2002, the Brussels Design Market has evolved into the « largest European vintage design market » and has quickly become a must-see in the international vintage design calendar. Maintaining its unique atmosphere usually characterized by ea markets, the Brussels Design Market has continued to attract more and more visitors from year to year and has developed into a real meeting place. Over the years, the selection of merchandise exhi- bited has increased. Arriving from all over Europe, the dealers present an eclectic collection, bringing to- gether multiple styles and trends that have impacted the 20th century. Visitors discover original and iconic pieces from Italian, French, American, and Scandina- vian design created by the biggest names in the history of design, such as Sottsass, Le Corbusier, Eames, or Ja- cobsen and Panton. Alongside these icons, the Brussels Design Market also offers anonymous and exclusive design pieces at affordable prices. For the 25th edition of the Brussels Design Market and to celebrate the 80th anniversary of the artist, an exhibition will be dedicated to the creations of the ceramist Georges Pelletier. His luminaires, his totems, and his atypical mirrors are all easily recognisable thanks to the handmade details that come together to produce unique sculptural pieces. Before the Brussels Design Market, a rst glimpse of his artwork will be presented in an intimate exhibition in the heart of the Sablon. September 7-17th / Galerie Brittania - Petite rue des Minimes n°5, 1000 Brussels

This daring initiative is supported by Belgian and foreign gallerists, dealers and collectors. This enthusiasm illustrates the trust that the sector has in the fair as an important meeting place for classic and modern art.
This position illustrates the rise of Brussels as Parisian anti-chambre in a context where London, capital of the European art market, takes distance from the continent. Paris reinforces her appeal and profiles itself in an active way as the most important place for the European art market. Eurantica follows this new position by choosing the theme “Paris-Brussels” for this edition.
But that doesn’t mean that Eurantica forgets her roots. True to itself, Eurantica is elegant, eclectic and rich on discoveries. It embraces all domains and periods. It reinforces and keeps its strong anchorage in classic paintings of Old Masters, Belgian and European post-war painting, jewellery, old furniture, vintage furniture and collection objects. Eurantica responds to the expectations of the art market by presenting a fair that gives extra attention to the classic sector in a dynamic and contemporary environment with accessible prices. The antique dealers show quality pieces in beautiful presentations.

Kait Rhoads is an American sculptor. She lives and works in Seattle. She creates innovative structures using traditional glass cane and murrine (Italian glass technique). Rhoads’s youth was spent between rural Virginia and a sailboat in the Bahamas and the Caribbean. Growing up on the water was a major influence, and is a great source of inspiration. Her ‘Sea Stones’ series references these watery origins: simple shapes with subtle shifts in colour and quick gleams of light reminiscent of the sun on the waves. To create these amorphous shapes, she weaves together hollow glass cane with copper wire. The resulting small sculptures beg to be touched, their scale, surface and playfulness eliciting a variety of responses from curious viewers. This is Rhoads’s first European exhibition of her work.

Shaking up the stereotypes of gender and domination, the works of Sanam Khatibi (Iran, 1979) both captivate and revolt you at the same time. Born in Iran, the Belgian artist paints female figures, solitary or in packs, subversive and provocative, giving free rein to their animal desires in landscapes evoking a far-off, atypical Eden. His subjects, which are ambiguous in their relations to power, violence, sensuality, question excess, loss of control, domination and submission. Aside from his large oil paintings, populated by animals and hunting stories which are as naïve as they are cruel, Sanam Khatibi also creates drawings, embroidery and tapestry which are often based around installations. The exhibition De ta salive qui mord / Your Biting Saliva starts out from a personal collection of objects from very varied provenances, such as archaeological debris, idols, ceramics which are an integral part of his practice.

In Cambodia and Thailand, the artist was fascinated by traditional metalwork, the recovery of mechanical and electronic components, the customising of vehicles, the hustle and bustle of cities and the calm of Buddhist temples and the wild jungle.
As a result of these contrasting new experiences, he produces works by associating and transforming objects, signs, logos, sounds or animated images. Following his intuition, he associates - in order better to blend them - collective perceptions of time, space and symbols, matters and mechanics, technologies and biological species, in order to bring about a new aesthetic register which provides the basis for a visual vocabulary that is specific to the 21stcentury.

Curator: Chris Meplon
Invisible, intangible, immaterial.But also omnipresent and vital. No life on earth is possible without air. Air - for now - is free and belongs to everyone. But in the Anthropocene it becomes more and more threatened and requires protection. How do designers deal with air? How do they use it?What does air mean to them? This exhibition looks at the theme of air from different design perspectives. From air used for material objects, like inflatable objects and structures, to air in speculative design scenarios. Including technical and practical design solutions as well as alternative or futurist concepts, from air purification and ventilation to air travel. Because just like air, with its tendency to mix and diffuse, design is essentially mixed, plural, rather elusive and…vital.

Christine Vanoppen’s artistic works span a diversity of applications, permanently displacing the limits of the possible. She experiments with various techniques and materials, drawing inspiration from both architecture and natural structures. Wouter Bolangier started working with glass at sixteen years of age. Today, he works primarily in glass, stainless steel and rubber. His work takes us into a world of suspended animation, where objects come back to life in new and magical ways full of unending sparkles, reflections and hues. At the same time, you are very aware of their fragility, with every seemingly stable instance being an illusion.